Minimalizmas: komponavimo doktrina ir praktika Lietuvoje

• Kaščiukaitė, Laura
• Daunoravičienė, Gražina

LTMinimalizmas, šeštame septintame dešimtmetyje susiformavęs kaip reakcija į avangardinę ir eksperimentinę muziką, grąžino muzikai elementarias jos formas, įprasmino tylą, redukavo kompozicinių elementų skaičių, sutelkė klausytojų (ir analitikų) dėmesį į mikroskopinius pasikeitimus laiko ir vyksmo procese. Vyraujantis repetityvumas (pasikartojančių struktūrų konstrukcijos), reguliari ritminė pulsacija ir energija, diatoninė harmonija ir, rodos, neįsimenanti, vos iš kelių garsų sumodeliuota melodinė linija – tai tipiški XX a. minimalistinę kompoziciją charakterizuojantys bruožai. Minimalizmas kaip amerikietiškos kultūros produktas neaplenkė ir Lietuvos muzikinės terpės bei padiktavo šio mokslinio tyrimo tikslą – atpažinti ir pritaikyti išskirtas bei susistemintas minimalizmo kaip komponavimo technikos priemones lietuvių kompozitorių muzikiniuose opusuose, taip pagrindžiant minimalistinį jų pobūdį. Pirmoje istorinio-teorinio pobūdžio mokslinio tyrimo dalyje, pasitelkus istorinį, apžvalginį ir sisteminį tyrimo metodus, pristatomas minimalizmo – postmodernistinės meno krypties – sąvokų (minimal music, repetitive music, new tonality, etc.), kūrėjų (La Monte Youngas, Terry Riley, Philipas Glassas, Steve’as Reichas, Mindaugas Urbaitis ir kt.), taip pat techninių priemonių spektras (Timothy A. Johnsono, Dano Warbutono, Margaritos Katunian, Kyle’o Ganno ir kitų siūlytos sistematikos). Analitinio pobūdžio antroje straipsnio dalyje, taikant komparatyvinius ir analitinei muzikologijai būdingus tyrimo metodus, pristatomos minimalistinės kompozicijos sampratos, iliustruojamas minimalistiniam komponavimui būdingų techninių priemonių praktinis taikymas lietuvių kompozitorių aštunto ir devinto dešimtmečių kūriniuose. [Iš leidinio]Reikšminiai žodžiai: Minimalizmas; Komponavimo technika; Procesualumas; Sistematika; Minimalism; Technical means of composing; Proccessuality; Systematics.

ENThe artistic creation of the last decades of the 20th century that demonstrates/reflects new creative attempts and joins/unites, it seems, very different cultural phenomena formed in the context of postmodernism. Musical postmodernism is dated back to the 1960s and 1970s when composers began to decline the concepts of newness, originality as well as intellectuality that were promoted by modernism as a necessary compositional base. According to the musicologist Vita Gruodytė, in postmodernist art (in music too) "not originality but repetition, not a concrete artistic form but conception, not a finished work but creative process, not the specifics of separate art spheres but their merging into new hybrid kinds is appreciated" (Gruodytė, 2007, p. 134). Repetition, conception, process are one of the most important concepts and compositional parameters that characterize musical minimalism, a postmodernist art trend that emerged in the 1960s. In minimalist music, according to the composer Michael Nyman, the sound activity is reduced to minimal, the chosen tonal recurrent material and disciplined processes are followed (Nyman, 1999, 139). Minimalist music is rather abstract and non-narrative; it changes rather slowly and consistently so that all changes that take place are noticed by the listeners and they have time enough to listen to carefully. The sense of time melts due to the lack of contrasts and events, therefore rather often minimalist music is called hypnotizing, magic and so on. Taking into account that a comprehensive and integral picture of the spectrum of minimalist music and a deep and analytic attitude to minimalism is absent in studies by foreign researchers (Wim Mertens, Margarita Katunian, Kyle Gann etc.) and by Lithuanian counterparts the aim of this study is to systemize and generalize the earlier theoretical insights and conclusions, linking them and adapting them in the Lithuanian context.Thus, the first historic-theoretic part of this scientific research introduces the concepts of minimalism, a trend of post modernistic art (minimal music, repetitive music, new tonality, etc.), creators (La Monte Young, Terry Riley, Philip Glass, Steve Reich, Mindaugas Urbaitis, etc.) as well as a spectrum of technical means (the systematization proposed by Timothy A. Johnson, Dan Warbuton, Margarita Katunian, Kyle Gann and others). In the analytic second part of the study in order to trace down the technical means of minimalist composing practically applied in theoretic studies of Warburton (1988), Johnson (1994), Katunian (2005), Niren (2007) and Gann (2001, 2004), the music works that represent mature Lithuanian minimalism – Vidmantas Bartulis’ composition Ateinanti... (1982) and Feliksas Bajoras’ Muzika septyniems (1975) – were researched. Looking into the future, it is possible to claim that the minimalist composing strategy (still popular among foreign and Lithuanian composers) has not revealed all its potential and is still being renewed and enriched with new creative impulses that encourage theoreticians to analyze from the historic and technical aspect minimalism and post minimalism, the creative period following it that has evolved and is still continuing to evolve. It could be also noted that having certain elementariness and simplicity, elements of the minimalist technique combine well with other composing techniques of the end of the 20th century creating in this way musical hybrids in the context of the practice of contemporary composing. However, it would be different innovative issues that need separate scientific research. [From the publication]